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The Classic Crime
Track List
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| It is and forever will be the defining
moment for those few, elite bands who excel in their freshman
campaigns. And though reference to the "sophomore slump" is a cliché'
that is all-too-familiar in rock n' roll... |
 It is and forever will be the defining
moment for those few, elite bands who excel in their freshman
campaigns. And though reference to the "sophomore slump" is a cliché'
that is all-too-familiar in rock n' roll circles, it is a term that
nonetheless accurately describes the pivotal nature of the sonic
sequel.
Because the second album will write a band's destiny, forever, in stone.
Most will crumble under the pressure, and prove that only a
select few become memorable, only the special will do something that
will etch themselves forever into the hearts of many...and The Classic
Crime would not have it any other way.
Enter The Silver Cord, what many are calling one of the most
complete rock albums released in recent history. If you are at all
familiar with 2006's Albatross, you know that The Classic Crime has no
trouble writing rock anthems with chorus lines that would make even the
most critical ear scream, chant, and sing in sheer obedience to the
sound. In fact, Albatross was, according to the band, a collection of
singles written for rock radio. While most offer a couple catchy
melodies, The CC gave us an entire album's worth on their first
go-round. So how could they possibly push their lofty mark to a higher
apex? By delivering depth, diversity, and dynamics along with
accessibility.
"This is the most thematic thing we have ever done," comments
vocalist Matt MacDonald. "The Silver Cord is a metaphor from literary
history dating back to the Torah and the Old Testament. There are also
numerous stories of people who have had out of body experiences on
hospital beds who have seen The Silver Cord. After being proclaimed
dead and then coming back to life, many have made reference to a small
tinsel-like silver thread which connects their mortal bodies to their
immortal souls. The idea is that when the cord is severed, you pass on.
It's impossible to think about this cord without realizing how fragile
life truly is. Every song on this album follows that theme in some way.
And while there are songs on the new record that could have easily been
on Albatross, we wanted more of a contrast from song to song. This is
the three-dimensional version of ourselves...an album that you can dig
into and listen to again and again."
Doubters will be silenced in seconds. A dramatic swell of
tragic emotion echoes from MacDonald's soul, introducing the ride that
is to come on the opener, "The End." The track begins with just vocals
and guitar, and words cannot express the desperation that seeps from
the opening lines. As the second track kicks in, an evolution into
inviting melody and dissonant energy leaves you feeling filled with
life yet unsettled at the same time. And herein lies the overwhelming
strength of the LP itself: it is the Classic Crime at their most
balanced, yet most disconnected. There are very heavy moments, where
screamed vocals meets shrieking riffage, along with equally great
moments of pop clarity. And though song structures are primarily
straightforward, the band shows obvious growth in musicianship and
instrumentation. The ebb and flow musically is matched by equal dynamic
in emotion; whereas Albatross was an uplifting experience on the whole,
their sophomore effort contains more balanced emotion. There is both
dark and light here. This is, most definitely, a step forward for the
band in every single way.
"Overall the record is more mortal...Albatross was more
hopeful and optimistic, while The Silver Cord is more realistic about
the realities of life and death. I think that just happened because it
was a product of the fact that we have lived through two years of doing
this and we have faced reality...the struggles, the difficulties on the
road, the harsh time we face in music today. When you are forced to
face these things you are stretched in every way."
Once again the band employed the services of Producer Michael
"Elvis" Baskette (Incubus, Story of the Year, Chevelle) on this
endeavor, and once again he has succeeded in delivering a sound that is
raw, enigmatic, yet contemporary in its punch. It is to be noted that
the band took extra pains to "record as they would have fifteen years
ago," according to the members of The CC themselves. This is a record
without the vocal tuning, quantizing, or sampling of today's rock
records. It is completely performed by the band as they would play it
live, many times in single takes during the recording process. This is
an album by a group of individuals who each carries their own weight in
terms of input, performance, and ability. Plainly put, The Classic
Crime have delivered an album by a band, not a computer-generated
product by a fashion club.
MacDonald's words will cut straight to the heart, piercing
bone and marrow, with clever candor and poignant commentary.
"Abracadavers," a song inspired by the "Bodies Exhibit" which travels
the world showing what physically lies beneath each of our skin,
confronts the mortality that each of us face: We're all the same, made
of hair and bones and water and blood cells. And we're all to blame,
for spending way too much time on ourselves. "God and Drugs," a
self-revealing take on the emptiness of addictive substance, speaks of
how such potions so poorly emulate true happiness: It's a constant
reminder of what I can and cannot have. The smell the taste its all
just fake the truth is what I lack. So I will keep on running and keep
my head above the ground, and I will look for you in places you cannot
be found. And on the album's opener, "Just a Man," The CC confronts the
pride that each of us possesses, reminding us that there are no
ultimate answers in humankind alone: I know that my faults bring me
down, it's a constant battle. That's why I have to be honest with you
now. I'm not your saint, I'm not your savior.
Though subtly spiritual in theme and approach, the band has a
very healthy view on the interplay of belief and artistry, and one
which MacDonald has no trouble articulating: "Bob Dylan is a Jew who
came to believe that Jesus Christ was the messiah...and since then he
has fought the label of 'Christian artist' whole heartedly. He's been
quoted saying, 'People want to label you so they can limit your
accessibility.' That's why we refuse to have labels of any
sort...either with genre or religion, because we want to be accessible
to everybody. We feel like we can do more good to more people by
remaining objective in our perception."
After scanning over 40,000 copies of their debut and honing
their live show to machinelike precision, The CC are poised to make
another run across the nation and beyond, setting their sights on
hundreds and hundreds of shows in the months to come. They have joined
forces with everyone from Scary Kids Scaring Kids, Mest, MxPx, Emery,
and Anberlin. They were featured on Warped tour 2006 and will be
joining 2008's installment as well. While some struggle to capture the
magic of their recordings live, suffice it to say that this band is
only at their most potent and accurate in the show atmosphere. This is
a legitimate unit that will prove their mettle in the chapter that is
to come.
Yet with all their dedication to music for music's sake, The
Classic Crime are surprisingly dedicated to a greater, practical
purpose as the end-all-be-all of their band's existence. It is with
these higher goals in mind that they push onward into this next era.
"We want to reach as many people as possible and we want to
help people," states MacDonald. "I think music is powerful and people
can find emotional therapy in it. We want to make music that is
meaningful, that people can relate to. Also, we hope to generate enough
of a career so we can go to third world countries and try to serve
people in need on physical level. I think we are put on this earth to
serve something other than just ourselves."
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